Seattle Opera’s “Elektra” resounds with tragedy

A snippet from Elektra. Janice Baird pictured above and singing the monologue “Allein! Weh, ganz allein” in the clip.

Richard Strauss’ opera Elektra, based on Sophocles’ ancient Greek tragedy, is a harrowing portrayal of betrayal, revenge, and despair. The tormented Elektra paces the castle floors nightly, calling out to her deceased father’s spirit in a rage. The murder of King Agamemnon, orchestrated by his wife, Klytamnestra, and her lover, Aegisth, sends his eldest daughter into a demented state. She recounts the details of his bloody murder and decries revenge upon his assassins.

In a performance by the second cast, Jayne Casselman, in her Seattle Opera debut, was a powerful and captivating Elektra. Luretta Bybee’s, Klytamnestra, was evil yet feeble at the same time. You wanted to hate and pity her. Carolyn Betty as Chrysothemis, the weary younger sibling, vocally held her own against Casselman. The grandiose albeit grim set, where the players toil throughout the one act opera, was reminiscent of ancient Mycenae. Ominous lighting enhanced the most dramatic moments.

With Strauss’ score ranging from somber to violent, and Hugo von Hofmannsthal’s grave German libretto as the backdrop, Elektra definitely left audiences feeling something. Moved, perhaps. Although melancholy might be a better descriptor for some. Emotionally taxing, I channeled the way Elektra must have felt in her dramatic collapse at the story’s end.

After exiting, I came to the conclusion that opera going is just not a casual endeavor. This was more apparent after Sunday’s post-performance Q&A with General Director Speight Jenkins, where well versed opera goers asked one informed question after the next, comparing and contrasting composers and tonality. It might behoove a novice like me to take an Opera 101 course, as immersing one’s self in an afternoon of two foreign languages, the libretto and classical music, can be a daunting endeavor with an opera like Elektra. That said, I recommend it for opera connoisseurs.

I do find some operas more universally appealing and a beginner might start off with an Aida or La Boheme. However, I truly want to become a lover of this art form and understand its deeper meaning.

PS If you still need Halloween plans, operagoers who arrive in costume for the Friday, October 31, performance of Elektra can receive one free ticket to the eveningÃ¢â‚¬â„¢s performance with the purchase of a full-priced ticket. Tickets must be purchased on October 31 at the McCaw Hall Box Office, which opens at 5:30 p.m.